夫妇 - 美国大都会艺术博物馆展品查阅

品名（中）	夫妇
品名（英）	Couple
入馆年号	2001年，2001.408
策展部门	迈克尔·洛克菲勒之翼（The Michael C. Rockefeller Wing）
创作者
创作年份	公元 1575 - 公元 1800
创作地区	马达加斯加（Madagascar）
分类	木雕（Wood-Sculpture）
尺寸	高 39 × 宽 11 × 深 6 3/8 英寸 (99.1 × 27.9 × 16.2 厘米)
介绍（中）	这对马达加斯加夫妇是非洲和太平洋岛屿影响交汇地区最重要的艺术成就。它是由马达加斯加西部的一位萨卡拉瓦艺术家创作的，目的是为"hazomanga"的顶峰增光添彩，这是一座高大的木制纪念碑，坐落在一位氏族长老住宅附近的荣誉场所。它是祈祷、祭祀和男孩割礼仪式的焦点。哈佐曼加高约6英尺，是建筑景观中引人注目的元素，也是过去和现在亲属关系的有力提醒这些人物并排设置，以其强烈的表情和深深的眼神吸引着观众。它们微妙的风格化同时将它们统一起来，并放大了它们的不同之处，对男女的基本互补性产生了雄辩的阐述。作为促进每一代人男性化的割礼权利的核心，这对夫妇强调了男女伴侣关系在确保社区未来方面的重要性。这些人物的裸体在一个纺织品是身份基本要素的地区引人注目，进一步强调了生育和再生这一永恒而普遍的主题这件作品安静的力量和抒情平衡的对称性使它成为影响西方艺术的东南非雕塑中罕见的例子之一。它于20世纪初在巴黎被人们所熟知，大约在1922年至23年被英国雕塑家雅各布·爱泼斯坦爵士收藏。
介绍（英）	This Madagascar couple ranks as the foremost artistic achievement of a region where African and Pacific Island influences meet. It was created by a Sakalava artist in western Madagascar to grace the pinnacle of a "hazomanga," a tall wooden monument set in a place of honor near the house of a clan elder. It constituted the focal point for prayers, sacrifices, and boys' circumcision ceremonies. Measuring around six feet in height, the hazomanga was a striking element of the architectural landscape and a potent reminder of kinship, both past and present. Set side by side, these figures engage the viewer with their intense expressions and deeply recessed eyes. Their subtle stylization simultaneously unifies them and amplifies what makes them different, producing an eloquent statement on the fundamental complementarity of man and woman. As the centerpiece of circumcision rights performed to promote the virility of each generation, the couple emphasizes the importance of the male-female partnership in assuring the community's future. The figures' nudity, striking in a region where textiles are a fundamental element of identity, serves to further underscore these timeless and universal themes of fertility and regeneration. The work's quiet power and lyrically balanced symmetry helped it to become one of the rare examples of southeast African sculpture to have influenced Western art. Known in Paris by the early twentieth century, it entered the collection of the British sculptor Sir Jacob Epstein about 1922–23.